Notes and Editorial Reviews

This new disc unites a recording of an early Symphony in C, with the famous later Symphony in C, the so-called “Linz“—which, it is disconcerting to remember, Mozart asserted in a letter he wrote in less than a week. That this seemingly inevitable masterpiece, longer, more technically and emotionally involved than earlier symphonies, was the hurried result of an unexpected, casual opportunity, seems to challenge our idea of the steady growth of an artist's resources. But then, Mozart's career constantly challenges our preconceptions.

There are many fine recordings of the “Linz,“ from Bruno Walter's to Marriner's and the sublimely elegant one conducted by Rafael Kubelik on EMI which I have recently reviewed in these pages. IRead more approached this brisk rendition by Frans Brüggen with the sound of Kubelik's Vienna Philharmonic ringing in my ears. Needless to say, Brüggen and his period orchestra have a different sound and approach, which is equally attractive to my ears. Brüggen emphasizes the sturdy, martial sound of both these symphonies. His tempos are fast—very fast in the case of the final Presto of the “Linz“—and he doesn't linger over the more melting phrases we hear in the Andante of either symphony. He plays the opening chords of the “Linz“ with a sternness that colors the rest of the slow introduction, which becomes threatening. The result is a clearly articulated piece that somehow sounds darker than usual. I imagine Brüggen knitting his brow through the whole of the piece. Not everyone would agree, but I find that approach a valuable alternative to what I have heard elsewhere. The Orchestra of the 18th Century plays with great precision, and they are well recorded, sounding both close-up and resonant.